Analysis.
Of the eight tracks that this CD is made up of, two are vocal-free pieces, almost all of the others being largely instrumental, in the concept's truest meaning. However it is the sole exception to that rule, the opening track Vy, which is the most profound composition here. While falling squarely into the framework of classic guitar-driven Prog-Metal (without using keyboards), the song contains so many different thematic storylines that I had to revisit it to realize that there are no repeats even on its vocal level. Of course the main criteria, which allow me to consider the piece to be a progressive rock killer, are its complex compositional construction, abundance in sudden transitions, odd meters and so on. Those acquainted with "A Social Grace" by Psychotic Waltz are already halfway to having the idea of what Vy is overall about, though Pablo Tato's singing, which is kind of laid-back from surrounding events, is more reminiscent of Fates Warning's Ray Alder than Buddy Lucky (AKA Devon Graves) in approach - as everywhere on the album. Since I've already called my favorite track, I must make the reservation that all the subsequent ones are only slightly inferior to it. Just like the opener, both of its follow-ups, Zas and Quasar, are filled with a grim, disturbing atmosphere and are heavy throughout, with not even a small island of calmness in their raging musical seas. What distinguishes these from Vy is the presence of slow, yet still ornate arrangements that may bring to mind Paradise Lost or Candlemass. In order not to repeat myself, I only note that the instrumental title track, which concludes the CD, would've been rated along with Vy if its first three introductory movements hadn't represented conventional Swing, Circus music and Rock-&-Roll respectively, and that the main reason I didn't mention the sixth track Pajaro up to now is that, unlike any of the others, it reminds me of Voivod - circa "The Outer Limits". That being said, the rest of the journey is almost equally interesting, although it is less adventurous, which is not because the remaining three creations are all performed without using any big guns, but is because the band rarely ventures on truly intricate movements there. The only two tracks with the participation of session musicians (see lineup above), Leuven and Nana Negra, are both almost as beautiful and expressive as the only chamber-like section in the sidelong epic Tangerine Windows of Solace from the second Sieges Even recording, "Steps", which however isn't due to the guests' efforts, though I can suppose they just weren't allowed to weave any complicated patterns. The remaining instrumental, Gineo Mundos, is guitar Art-Rock with some hints of King Crimson. Very interestingly designed, the piece has a somewhat blurry finale however, therefore leaving the impression of being a bit underdeveloped. Finally I think it should be mentioned that the King Crimson influence, which runs all through the trio's first album, appears almost exclusively in its latent form here, meaning it exists on most of the previously described tracks too, but is so well camouflaged there that only those having a listening experience of many years will recognize it.